Let the swarm of Locusts begin!

 I'm very sad to say that my knowledge on groove metal heroes Machine Head is somewhat limited, having only heard a selection of big hits, including "Davidian", "Halo" and "Take My Scars" and owning only their 2003 release "Through the Ashes of Empires". Needless to say, though I could not be considered a fan at this stage, I find all I've heard by them to be fantastic works in aggression and brutality. And things are sounding just as good in their latest single "Locust". Lyrically, "Locust" is a track about those who pretend to be at one with you, and pretend to befriend you, only to take all you have and suck you dry before leaving again. A better explanation for the song comes in the words of guitarist Phil Demmel who states:

"Locust", is a concept I came up with, based on a few people I have encountered in my life, just like everybody has. The type of person that just comes into your life under a different guise, under false pretenses, to befriend you, be your buddy, be your man, be on your team, or, you know, to be your lover or whatever. Their goal is just to soak up all your resources and just to drain you of all you've got, whatever you have to offer. Once they're discovered, they fly off into the next crop and drain that of everything. Yeah, it just feels like hell."


 It is unsurprising that with such a hateful theme, the track is fueled by rage, as the band deliver a furious and pummeling performance, meaning they're on top form.
 "For now, "Locust" serves as an exciting preview of what to expect from their upcoming album "Unto the Locust" due for release on the 26th September, which yesterday had it's tracklisting revealed to the world.
Typical of Machine Head, the album has been reported to have no songs which are under six minutes long, with the opener "I am Hell (Sonata in C#)" to be split into three sections ("Sangre Sani"/ "I Am Hell"/ "Ashes To the Sky"). Maybe not so typical, then. Other tracks on the album include "Be Still and Know", "This is the End", "Darkness Within", "Pearls Before the Swine" and "Who We Are". Only seven tracks in total for the album, so this album is most likely to be filled with epic ten minute tracks of pure brutal metallic beauty.
 Once again, I've become incredibly excited for a new metal release.

Mastodon - "Black Tongue"

 Needing a new song something that feels incredibly psychedelic and doomy? You're in luck then, as yesterday, Atlanta sludge metal icons Mastodon released a track from their forthcoming album "The Hunter" called "Black Tongue" and that pretty much fits the description.
 "Black Tongue" has the sound that many have come to expect from Mastodon, but has a few differences as well. While the song has a slower pace, it is incredibly heavy, therefore giving it a doom metal-like quality particularly with it's sludgy guitar riffs, which drag on, as though dragging the listeners away into Hell. It's still incredibly stoner rock-like as well though, heard in the songs bridge which really kicks it into action as well asin the guitar solo that follows it. Throughout the song, however, wild drumming is very much prominent.
 I would say that "Black Tongue" is much more stripped down than any tracks from my favourite Mastodon album, "Blood Mountain", even Troy Sanders' vocals in the song, which remind me more of John Garcia of Kyuss. It is for this reason perhaps that I find "Black Tongue" to be a less exciting track from Mastodon. It is   however still incredibly engaging and worth checking out.

You can do so now. Check out "Black Tongue" on this here link. http://www.youtube.com/watch?v=hwgqenxNUfs

Amy Winehouse 1983 - 2011

 Though she could hardly be considered a performer of rock music, London R&B singer Amy Winehouse, who was found dead in her North London home yesterday, due to unknown causes, was one of those female pop singers who constantly had singles in the charts, who I genuinely respected as an artist. Her music brought a sense of class and style to the singles charts with a traditional style of blues and jazz mixed together to create a soulful and passionate sound and suited the lyrics of tragedy in tracks such as "Back to Black" and "You Know I'm No Good" which were also made more real by her contralto vocals. Naturally, I preferred this kind of thing to other female pop artists in the charts, whose whiny vocals are put to nasty talentless synthesizers. Needless to say, there are still many artists who are topping the charts without the use of whiny vocals and synthesizers, Adele being a good example, but these artists don't share the same soulfulness and raw talent that Winehouse had. Her death will leave a huge hole in the world of pop music that many horrible talentless artists will recklessly attempt to fill.
The reaction to Winehouse's death has been surprisingly respectful which is a good and unexpected thing considering that she spent most of her career in the tabloids for her constant drug and alcohol abuse which caused many to lose respect for her. And many are still cracking jokes since it is suspected she had an accidental overdose. This isn't something I'd laugh about were that the case. I've seen it happen before with The Rev and Paul Gray and this is no different from those cases, even if Winehouse became a household name for her controversial drug usage, whilst Gray and The Rev were known for their musical skills and never really became household names.
Overall, whilst she was not a rock performer, Amy Winehouse certainly lived fast and died young, a true rock n' roll ideal. And so I hope she may rest in peace as she joins Kurt Cobain, Jim Morrison, Janis Joplin, Brian Jones and Jimi Hendrix in the 27 club. For now, it's back to hating pop music. It's not going to get as good as Amy Winehouse was any time soon.

Snow Patrol - "Called Out in the Dark"

A friend of mine once referred to Irish(?) britpop lads Snow Patrol as being a "meh" band in the sense that they were generic, unexciting and repetitive. While I've never agreed, it seems that there are many who have shared this view. It is perhaps for this reason that the band have tried something a little different for their latest single "Called Out in the Dark". Basically they've created a techno rock song which puts me in a situation where the only band that I could possibly compare them to for this track is The Bloodhound Gang. And does not suit them.
Taking from their soon-to-be-released EP of the same name, "Called Out in the Dark" is made with the intent to be an electronica infused pop rock song with some acoustics thrown in, assumably for a more organic touch and it's not their style. This sounds more like something I would hear from a band like Noah and the Whale or any other of those uplifting sappy pop rock types.
Now, I'm not criticizing them for a change of style and I admire their sense of experimentalism, but they could surely deliver the same kind of passion we've seen on previous efforts such as "Final Straw" and "Eyes Open". Instead all that is found on "Called Out in the Dark" is a bog-standard uplifting pop-rock tune, which actually can be described best as "meh".

Red Hot Chili Peppers - "The Adventures of Raindance Maggie"

After a five year hiatus, Californian kings of funk Red Hot Chili Peppers have returned releasing their latest single, "The Adventures of Raindance Maggie" from their highly anticipated new album "I'm With You". Since The Chili Peppers were the first band I heard referred to as a "funk-rock" band, "Raindance Maggie" is a great way to see the guys on form, because it's certainly made funky with Flea's catchy bass line and latest guitarist Josh Klinghoffer's danceable guitar riffs and stoner rock-esque guitar solo mixed with the equally catchy drumming from Chad Smith. All this mixed with the jazzy funk infused vocals of Anthony Kiedis all combine to make a good Red Hot Chili Peppers single.
But that's a problem. Because it's just good. Perhaps I'm expecting too much, because the last time the Chili Peppers went on a lengthy hiatus, they returned with "Dani California" which was an exceptional single, and frankly "Raindance Maggie" cannot touch the glory of that track.
Overall, "Raindance Maggie" is a pretty good single from The Red Hot Chili Peppers and later, I'll give it a few more listens and get more into it, but I do not see it as a good single to come back on.
Maybe you disagree. Check out "The Adventures of Raindance Maggie" on the link below and see what you think.

http://www.youtube.com/watch?v=huUpFIcH4Nw

Suicide Silence - "The Black Crown"

"The Black Crown" is the third outing from deathcore titans Suicide Silence. It's fair to say, however that they haven't done much to reinvent themselves and the album once again revisits the furious riff-work and brutal breakdown workout that tore through 2009's "No Time to Bleed". However, this style works very well on "The Black Crown" and helps emphasize the the dark feelings of suffering and despair heard throughout the albums, also emphasized by Mitch Lucker's mixture of high pitched screeches and death growls. This guitar pummeling from Chris Garza and Mark Heylmun creates an atmosphere of brutality which sometimes gets a little creepy and  and doomy as well, a good example being on the track "O.C.D", with an incredibly doomy guitar solo.
Another recurring sound on the album is an unexpected (although reading their lists of influences it ought not to be) Nu Metal influence heard throughout the album, with tracks like "Human Violence" being reminiscent to older works of Slipknot and "You Only Live Once" reminding me of a more deathly version of something from Machine Head's "Through the Ashes of Empires". Also "Fuck Everything" sounds like what could be the result of if Linkin Park had chosen to experiment with death metal back in 2000. The pinnacle of the Nu Metal influence comes with the collaboration with Korn's Jonathan Davis on "Witness the Addiction" where Davis' vocals offer something of an uplifting feeling for their tone, despite also being incredibly creepy. 
Don't worry if you're looking for more deathly material. The wild deathly fury on "Smashed" is aided by Suffocation' Frank Mullen's violent death growls also featuring a guitar solo like one would hear in a Deicide song.
Overall, Suicide Silence haven't exactly reinvented themselves on "The Black Crown" but if you're looking for more violent rage-fueled doomy deathcore madness, this album is definitely worth a listen.

Kasabian - "Switchblade Smiles"

A sign of a good song from Leicestershire Alt-Rockers Kasabian is if you are able to describe it as "zany". Good thing then that this is how I'd describe their newly released tracks "Switchblade Smiles".
"Switchblade Smiles" has the grimey indie rock sound that was heard on 2009's "West Ryder Pauper Lunatic Asylum" through the grunge like guitar work from Sergio Pizzorno and is also as synth-heavy as tracks various tracks on their debut album. Especially during the intro of the track making use of synthesizers and creating a sound that could receive comparisons to the outro of Franz Ferdinand's "Lucid Dreams", a track which I believe was helped out by Dan the Automator, the producer of Kasabian's "Velociraptor!", a possible explanation for the sound. It is a particularly effective intro however. The repetition of the synth makes it sound like something is trying to burst out and sure enough, it then bursts into a catchy, sludgy synth-rock frenzy.
In that sense, "Switchblade Smiles" is a good example of Kasabian at what they do best.

Check it out below, see what you think.
http://www.youtube.com/watch?v=2SQNNLe6WPA&feature=fvsr

Nick Oliveri arrested for domestic violence. Can I still look up to him?

I've recently become to feel a sense of disappointment about various talented musicians and the way they act as it shows them not be far from inspirational as role models and gives a bad name to their work. Why? Because rock musicians have been doing some ridiculous crap that gets them arrested as of late.
This morning I woke to discover former Queens of the Stone Age and current Kyuss Lives! bassist Nick Oliveri was arrested following a five hour standoff with the Los Angeles Police Department. On reading the headline, a great feeling of shock, worry and confusion entered my head, resulting in me saying "What the fuck?". The last time I heard about anyone having a standoff with police, it was the during the Northumbria shootings. So as one could imagine, I was somewhat scared now that Oliveri had shot someone. He was actually charged with domestic violence after concerned neighbors informed the LAPD that Oliveri and his girlfriend had gotten into a heated argument and Oliveri prevented her from leaving his home. Once police showed up, the bassist would not allow them into his home nor let his girlfriend leave, resulting in a five hour standoff before Oliveri eventually gave himself up to the police. Nick was released from prison on a $100,000  bail and a court hearing is to be set. As I say, this left me in shock. Although he's done some wild exploits in the past, he hasn't actually done anything that would cause him to gather a large amount of hatred from the public. He can't become a hate figure that it would be shameful to look up to. He payed bass in the coolest modern rock and roll band ever! His scream vocals on QOTSA's "You Think I Ain't Worth a Dollar, But I Feel Like a Millionaire" have inspired me along with various others to try out such vocals myself. Furthermore I'm really getting into Kyuss now and have been searching everywhere to find a copy of "Blues for the Red Sun". Now I'll probably get dirty looks if I find and buy it.
Either way, I'm sure this won't be the prime example of the work of a musician becoming less popular due to the actions of the artist. The best example of that will always be with Gary Glitter. Perhaps it will be okay for me to look up to Nick Oliveri for his scream vocals and bass work and not try and copy his lifestyles. Admittedly, in looking up to a musician his attitude and lifestyle has started to rub onto me. But that's okay, because it's those of Nick Oliveri's former buddy Josh Homme. And he's just cool. Yeah.

Trivium - "Inception of the End"

And now for something completely different. Also today metalcore titans, Trivium have released another song from their highly anticipated new album, "In Waves". It's called "Inception of the End". And it's awesome. "Inception of the End" is much more thrash metal inspired than previous single "In Waves" but still manages to make excellent use of metalcore-esque breakdowns. Many references could be made to work from "Ascendancy" and "The Crusade" to describe this single but to tell the truth, the song is very fresh and unlike anything I've heard from Trivium before. The song, therefore shows a further sense of evolution for this band (a recurring theme of late) and it is a very positive sound. Matt Heafy also unleashes a large amount of scream vocals as well, which is always cool. Overall, "Inception of the End" shows us more of Trivium's thrash-infused metalcore which "In Waves" has specialized in and, frankly lets me know that pre-ordering the album was a good choice.

To justify the good choice in purchasing the album, "Inception of the End" is available on the link below.
http://www.youtube.com/watch?v=Swp5t9U0e0U

Blink-182 - "Up All Night"

After being the topic of an excellent rant, I think it's time to spread some positivity about Pop-Punk heroes Blink-182, as they release their catchy new single "Up All Night". Musically and lyrically, the single carries a sense of maturity and experimentalism that makes it a perfect fit for their 2003 self-titled fifth album, therefore showing a sense of further evolution, rather than returning to songs filled with crude schoolboy humour that graced every other album of theirs as a way to connect with their past. The song contains many features for a great 2003 Blink-182 song, jagged, heavy and funky guitar playing from Tom DeLonge, catchy and danceable drum beats from Travis Barker, as well as an odd sounding keyboard maintaing a sense of rhythm in the background.
As I say however, it is a perfect 2003 Blink-182 song, so if you're looking for something fresh sounding from them, this may not be a great example of a new track. If you are looking for more of the catchy Pop-Punk sound that Blink-182 have come to be loved for however, then I think you're going to love "Up All Night". It is certainly an exciting preview of an album that a lot of good people have been waiting for for a very long time.

Check "Up All Night" out on the link below.
http://www.youtube.com/watch?v=72BE-j1iNcw

Incubus - If Not Now, When?

Californian once Nu-Metallers, now Pop-Rockers Incubus have returned with their seventh studio album, "If Not Now, When?" and if, like me your initial and main experience of Incubus was hearing their 1999 album "Make Yourself", you will find this album to be something very different from what you're used to. Over the years Incubus have dropped their initial Nu Metal sound and adopted this Pop-Rock approach and it is very clearly found on "If Not Now, When?", with the album's title track sounding like a slower song from a Kings of Leon album. "If Not Now, When?" is a much more laid back album than the hard-hitting "Make Yourself", which is much more closer to "Morning View", without the heavy guitars. Somewhat off-putting is that at times the the band sound like a decent version of all those annoying Pop groups such as Maroon 5 and Train. A personal favourite would be "Thieves" with a funky keyboard rhythm that one may relax or dance to. Overall, as Pop-Rock albums "If Not Now, When?" is something of a masterpiece and continues to show the evolution of Incubus from a wild Hard Rock band into a calmer relaxed Pop-Rock group who make songs for people to chill out and dance to. In fact fans could have an Incubus marathon and "If Not Now, When?" could be used as an effective and enjoyable way to relax after going crazy to the bands earlier work, therefore allowing fans to have a decent experience of the full work of Incubus.

Slipknot at Sonisphere - Mind blowing!

Thanks to BT, performance footage of Slipknot's headlining show at this years Sonisphere festival was available through a live stream. And thank goodness it was, for the show was an absolute phenomenon. It was, in fact a privilege to watch. Unfortunately things for me did not go off to a flying start. Technical problems, at least on my computer meant the stream would not start straight away, which seems to have come at the cost of missing my favourite 'Knot song, "(sic)". A song I love so much, I wrote into K! about why I loved it so much, to which they then printed my words, thus giving me that extra bit of inspiration to start this blog.
However, when the stream did begin to work, it was in the middle of "Wait and Bleed" which was being performed flawlessly. Their past shows have been focusing particularly on their older material, which is emphasized by their wearing of the masks and red jumpsuits that graced the cover of their 1999 self titled debut. For this reason, Corey Taylor's deep screams from "All Hope is Gone" that I've come to get used to have been dropped for now, Corey instead using his wild screams from 1999 as well. The song itself and every other song on the set is played with the passion and intensity of every Slipknot performance I've ever seen. The band become particularly focused for the following performance of "The Blister Exists" but with enough room for some epic headbanging and snare drum battles between Shaun Crahan and Chris Fehn.
As always Corey is incredibly engaging with the masses watching and gains huge cheers, stating "This is not a night for negativity, this is a night for positivity! This is a fucking celebration!", which makes the following transition into "Liberate" all the more perfect. Following that, the crowd and I, watching in a Copenhagen hotel room, scream the word "I" at the very top of our lungs, during "Before I Forget".
The crowd even participate on the spoken intro of "Pulse of the Maggots", a performance in which Corey increases the sheer raw power of his vocals, with a little help from Chris. We also manage to see James Root and Mick Thompson unleash sheer insanity through the screaming of guitars.
A chilling interlude featuring the samples of a young girl speaking mixed with the outro tho the bands 1999 track "Tattered and Torn" whilst Corey and DJ, Sid Wilson can be seen hugging each other onstage is a sure sign that it is time for some more older hits from the band and sure enough, the interlude dillusionally transcends into "Purity". Immediately following, "Left Behind" gives James more of a chance to show off his enviously skillful guitar work, which is seen also on the following performance of "Disasterpeice", which also features sampling and scratching from Sid which can only be described as "bizarrely amazing". The performance also saw Shaun screaming into Corey's ear, which I found hilarious. Next up is "Phsycosocial", where I get a real opportunity to marvel at Joey Jordison's wild drumming skills, mixed with Chris' constant tapping of a steel barrel with as baseball bat, as well as Mick's soulful guitar solo. The crowd and I, once again scream our lungs out during "The Heretic Anthem", the phrase "If you're 555 then I'm 666" spewing out of our mouths.
Following this performance, Corey addresses the crowds thanking them for their silence at 2PM for their fallen friend and bandmate, Paul Gray who was found dead last May following an accidental overdose. "He is always here with this band", Corey announced "and he is here with you today with each and every one of you. Can you fucking feel him?" After a resounding amount of cheers, the band start up their absolutely flawless performance of "Duality".
A rare performance of their 1999 track "Only One" then appears, which Corey refers to as a "fucking surprise". He shows Knebworth that he still has his nice Nu Metal rapping skills, which have not been touched since 1999. The song's crazy sample filled bridge is replaced with the crowd simply screaming out "Slipknot" before they slam the track back into power.
The finale of the set is "Spit it Out", complete with the traditional "Crazy Test" in which the audience all get down on the ground, and when Corey says "Jump the fuck up!" Jump as high as they possibly can and - well - go crazy. It is the perfect show closer, but obviously not the real one. After a lengthy wait, the band return for an encore, in which they perform "People = Shit", a performance I can only describe as being "Built of pure awesomeness." and ending with a perfect rendition of "Surfacing", the crowd all screaming "Fuck it all! Fuck this world! Fuck everything that you stand for!" complete with middle fingers in the air. This is the perfect song to end the show.
However, in the final moments of the show, the band pay a final emotional tribute to Paul Gray, by positioning his 1999 pig mask, red jumpsuit and his bass guitar in the centre of the stage, thus representing Paul, each member says their goodbye to their former bandmate and brother, Joey's goodbye particularly emotional as he hugs the suit and begins sobbing his eyes out, and invite touring bassist and original band member, Donnie Steel onto stage, where he had previously not been playing, all whilst the band's beautiful acoustic ballad "'Til We Die" plays in the background. The crowd and myself, crying and cheering for the band and their skill and their courage to overcome their fear of living and playing without Paul, it is a beautiful moment to watch.
Overall, the set was just phenomenal, perhaps even better than their set at Download in 2009. The songs were performed with utter perfection and many sound as fresh today as they did ten years ago. With the devotion, skill, passion and determination with which Slipknot play, I just know that from somewhere, Paul Gray is looking down on his eight brothers, with a big smile on his face and an overwhelming sense of pride for what his brothers are capable of.

Not to sound bitter, but...

Last night, after a day of touring the charming city of Copenhagen, seeing sights from a tour bus, during the pouring rain and getting bizarre looking photographs as a result, my Dad decided we ought to go to a bar and relax. This seemed fine. The bar was relaxing and I even had some Carlsberg. However, the entire time, a live band, whom I believe were named The Dishwashers, or something equally as terrible, were playing and they were horrendously bad. They played with the personality of what one may refer to as a "Shoegaze" band and spent the entire night playing mediocre covers of songs by Tom Petty, Elvis Presley, The Beatles, Eric Clapton... you get the picture, at various points forgetting the words to songs, and pronouncing Tucson and "Tuck-son" while covering The Beatles' "Get Back". Though they were a decent pub band, who are unlikely to move on from that circuit and many were satisfied with their performance, there is a certain fact which made me really, really hate them.
If my original plan for the summer had worked out I would have spent last night at the Sonisphere festival at Kenbworth watching Metallica.
My previous annoyance wasn't exactly healed in any way, this morning when I read Metallica's set list for last night's performance, and what a beautiful set list it was. Hit the Lights, Master of Puppets, The Shortest Straw, Seek & Destroy, Welcome Home (Sanitarium), Ride the Lightning, The Memory Remains, All Nightmare Long, Sad But True, The Call of Ktulu, One, For Whom the Bell Tolls, Blackened, Fade to Black, Enter Sandman, Am I Evil? (Featuring Diamond Head, Slayer, Megadeth and Anthrax), Battery and Creeping Death. And I watched some pub band getting the words to "I Shot the Sheriff" wrong. So, it can be argued that various things of this has made me a teensy bit jealous. First off, Battery, .y favourite Metallica song. The sheer power, which makes up the intro, the blistering riffs and the guitar solo which I can only think to describe as epic. This song was played as part of the encore. It hadn't been featured at any of their other Sonisphere shows, which makes their UK performance increasingly fantastic compared to the others. Also, the one newer song of theirs that the band chose to focus on was again my favourite of their newer songs, All Nightmare Long. I enjoy this for the similar reasons why I enjoy Battery, however the power and speed with which this track is played seems top be doubled. I have also missed the chance to see The actual Big 4 performing "Am I Evil?" on stage all at once and not only did that happen but they had Diamond Head join in as well? Good lord! This was surely the show of a lifetime.
However, I'm having a great time in Copenhagen, touring famous places and visiting theme parks and there's plenty more Sonisphere for me to miss, including missing sets from All Time Low, You Me At Six, Motörhead, Mastodon, Volbeat, Cancer Bats, Alestorm, Opeth, Weezer, Bill Bailey, Limp Bizkit and of course the triumphant return to the UK from Slipknot. So, yeah, I'll be fine, I'm sure there's plenty more pub bands to see in the time being. I have to go now. (Proceeds to cry in the shower, as it is running)

Genre names have become Post-Ridiculous

Recently, I've been getting into an album I recently purchased "A Promise to Burn" by Tennessee uprising Emo icons, Framing Hanley. I'm in love with the passionately heavy riffs from Ryan Belcher and Brandon Wootten, which effectively emphasizes the message tragedy on tracks like "You Stupid Girl" and "WarZone", or the contrasting message of hope, on tracks like "Wake Up" and "Back to Go Again" the band deliver., delivered similarly in Kenneth Nixon's powerful vocals, also helping to get their message across. I consider "A Promise to Burn" to be an excellent example of an Emo album, with it's hard rock style and confessional lyrics and I still think Emo is very relevant in the society of rock music today. This is why I was annoyed when I saw Framing Hanley as K! cover stars and they were referred to as a "Post Emo" band.
I've always been annoyed by this generic term "Post". It is absolutely unnecessary but is used in order to create a group of modern contemporaries. Well first of all, I don't need a genre name to tell me if  a group is modern or not. I have the "Year" section on my iTunes library and information about when they formed on Wikipedia to tell me that. Furthermore, I believe the whole idea of using the phrase "Post" to describe a band who performs a genre of music after the most said genre's most popular days is over is insane. There must be hundreds of bands out there who have been dubbed a "Post Grunge" because they play with grunge's heavily distorted sound and angst-y lyrics after Nirvana fell apart. "Post Hardcore" is particularly annoying. So that's a band that creates music similar to hardcore punk after the days of Black Flag and Dead Kennedys? For fuck's sake! Use the term Grunge and Hardcore for the more modern bands as well. Especially with hardcore since some bands labelled "Post-Hardcore" actually sound more hardcore that the Hardcore bands themselves. Big Black, for example have been labelled "Post Hardcore" but they really ought to be seen as heroes of the Hardcore Punk scene. Anyways, for every "Post", there needs to be a "Pre". But how can you have a "Pre-Grunge" band? This is just getting deluded.
My final problem comes from my disgust of seeing Framing Hanley labelled a "Post Emo" band. "Post" has been used if a band makes music of a certain genre, following the genre's decline. There is no evidence of Emo declining from mainstream popularity. Emo pop is still incredibly popular with bands such as Jimmy Eat World, Panic! At the Disco and Paramore (although criticism towards them grows increasingly per day) managing to attract masses in mainstream rock culture. The harder sounding derivative with the term I really hate "Screamo" is doing particularly well due to bands like Thrice and Thursday, who receive lots of attention from magazines and rock channels. Wow, this is rambling at it's purest.
However, it's obvious that the term "Post" has no real sense in the world of music labeling. Many bands produce all kinds of music that has past it's time of popularity earning them the title of "Post" in their description. Hardcore, Grunge, Garage Rock, Britpop, Punk. And many of these "Post" band's music is just as good as those who made the genre popular. I therefore don't believe many newer bands deserve to be labelled as "Post". Instead, give them the title of genuine creators of a genre.